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20 year anniversary of Put The Hammer Down by the Yayhoos. Finally available on vinyl from @bloodshotrecords Remastered by Paul Gold at @saltmastering from the original tapes! #theyayhoos #danbaird #keithchristopher #terryanderson #ericambel

"Stash, out June 26, is the absolutely energy-drenched second album from BCMC..!

Bill MacKay and Cooper Crain’s sophomore stint together cements their status as a guitar n’ keys power duo for the ages, a borderless pursuit of cosmic music in every strain: folk, rock and jazz, psych, prog, DIY, experimental, programmatic, impressionistic, liturgic, electric…! Hear the first single, “Kaleidosmoke,” out today."

Thank you @dragcityrecords for your stellar work & support!

Order the record at link in bio!

Songs: BCMC
Guitar: Bill MacKay
Organ/Synth: Cooper Crain
Recorded & Engineered by Cooper Crain & Greg Norman @normaphone
Mixed by Cooper Crain & Bill MacKay
Cover Art: Cooper Crain
Back Cover Photo: @elisabethfuchsia
Mastered by Paul Gold @saltmastering

"Stash, out June 26, is the absolutely energy-drenched second album from BCMC..!

Bill MacKay and Cooper Crain’s sophomore stint together cements their status as a guitar n’ keys power duo for the ages, a borderless pursuit of cosmic music in every strain: folk, rock and jazz, psych, prog, DIY, experimental, programmatic, impressionistic, liturgic, electric…! Hear the first single, “Kaleidosmoke,” out today."

Thank you @dragcityrecords for your stellar work & support!

Order the record at link in bio!

Songs: BCMC
Guitar: Bill MacKay
Organ/Synth: Cooper Crain
Recorded & Engineered by Cooper Crain & Greg Norman @normaphone
Mixed by Cooper Crain & Bill MacKay
Cover Art: Cooper Crain
Back Cover Photo: @elisabethfuchsia
Mastered by Paul Gold @saltmastering

I’m really happy to have been a part of this. Spectacular songwriting. Recorded and mixed by @chrisshawmix Released by @dragcityrecords Mixed to 1/4” 15ips tape. Mastered @saltmastering directly from tape to lacquer. The digital master was made the same way with no further editing.

I’m working on a long term project. This tape along with a large archive are from an audiophile label that recorded everything to tape. The archive was in a fire. Although there is no heat damage to the tapes there is a lot of soot and debris stuck to it. I’ve settled on a dry cleaning method using tech wipes. It takes 2:00-3:00 to clean the tapes before they can be transferred. These transfers are coming out well. The previous label releases were 44/16 digital. I’m doing 96/24 transfers. Between transferring from the Telefunken M15 deck and the Prism AD2 converter the sound quality is better than the originals. There may be some all analog cuts in the future also.

#saltmastering, #studera80 #audioarchives #analogmastering #analogtape

I’m working on a long term project. This tape along with a large archive are from an audiophile label that recorded everything to tape. The archive was in a fire. Although there is no heat damage to the tapes there is a lot of soot and debris stuck to it. I’ve settled on a dry cleaning method using tech wipes. It takes 2:00-3:00 to clean the tapes before they can be transferred. These transfers are coming out well. The previous label releases were 44/16 digital. I’m doing 96/24 transfers. Between transferring from the Telefunken M15 deck and the Prism AD2 converter the sound quality is better than the originals. There may be some all analog cuts in the future also.

#saltmastering, #studera80 #audioarchives #analogmastering #analogtape

Hi there, friends. My new record “I-95” is available for purchase on AAA double LP at the fantastic @academyrecords on 12th street in New York City!

For those not in New York City you can contact me to order the record at milopullmanmusic@gmail.com

Stream the album here:
https://open.spotify.com/album/0hkyWJmcP3bmgh9e1idchm

The album was recorded by Tim Hatfield @cowboytechnical at @dreamlandrecordingstudio and the vinyl was cut from the master tapes by Paul Gold @saltmastering

#vinylrecord #academyrecordsnyc #vinylalbum #independentmusician #independentmusic #independentrecordstore #analogmusicisbetter

The beginnings of a new EQ for #shakerdesk Shaker Desk has two parametric EQ’s with bell shaped bands. Ilike using shelving shaped EQ bands. I’ve been looking for a suitable design. Originally I had wanted to use a “swinging input” type which is the typical way graphic EQ’s are usually designed.

This design by Ian Bell (ruffrecords) is not exactly a swinging input but it has a lot in common with that topology. It is very close to what I was looking for.
This is a first attempt at getting the gain steps right. The gain calculator was made by Analog Joe. I used the closest resistor value I had on hand. It looks like it’s working. There is a long way to go with this. Getting the gain steps going is a good step forward. Now I will order the correct resistor values. Once the gain is sorted out I’ll move on to dialing in the frequency selections I want.

#shakerdesk #analogmastering #analogeq #analogmastering

The beginnings of a new EQ for #shakerdesk Shaker Desk has two parametric EQ’s with bell shaped bands. Ilike using shelving shaped EQ bands. I’ve been looking for a suitable design. Originally I had wanted to use a “swinging input” type which is the typical way graphic EQ’s are usually designed.

This design by Ian Bell (ruffrecords) is not exactly a swinging input but it has a lot in common with that topology. It is very close to what I was looking for.
This is a first attempt at getting the gain steps right. The gain calculator was made by Analog Joe. I used the closest resistor value I had on hand. It looks like it’s working. There is a long way to go with this. Getting the gain steps going is a good step forward. Now I will order the correct resistor values. Once the gain is sorted out I’ll move on to dialing in the frequency selections I want.

#shakerdesk #analogmastering #analogeq #analogmastering

The beginnings of a new EQ for #shakerdesk Shaker Desk has two parametric EQ’s with bell shaped bands. Ilike using shelving shaped EQ bands. I’ve been looking for a suitable design. Originally I had wanted to use a “swinging input” type which is the typical way graphic EQ’s are usually designed.

This design by Ian Bell (ruffrecords) is not exactly a swinging input but it has a lot in common with that topology. It is very close to what I was looking for.
This is a first attempt at getting the gain steps right. The gain calculator was made by Analog Joe. I used the closest resistor value I had on hand. It looks like it’s working. There is a long way to go with this. Getting the gain steps going is a good step forward. Now I will order the correct resistor values. Once the gain is sorted out I’ll move on to dialing in the frequency selections I want.

#shakerdesk #analogmastering #analogeq #analogmastering

I made it in! I was on screen a good 2-3 seconds. #shakerdesk made it in and was shot beautifully. Actually all the equipment was shot in a flattering way. My #Telefunken M15 made it in a shot. My#neumannvms66 didn’t make it in. I was operating the VMS66 so no shots of my hands. The #scullylathe Model 501 looked magnificent. The Westrex IIID cutterhead was provided by @heba_kadry

The script originally called for showing two cutting sessions. The Neumann was supposed to be high tech and the Scully was supposed to illustrate low tech. When the director saw both he said something along the lines of ‘but the Scully looks better’. I can’t say I disagree.

We thought the film was great. I was originally just contracted to rent #saltmastering as space to film. It quickly became apparent that they wanted to get the technical details right. I started helping more by request of the production designer. At a certain point I decided to make it my job to see that the technical details were correct. It seemed like quality work was being done. The finished film reflects that. I was half expecting a cheesy and cliched biopic. It is definitely not that. It’s fairly dark and not prettied up. Worth seeing even if you don’t care about lathes.

I made it in! I was on screen a good 2-3 seconds. #shakerdesk made it in and was shot beautifully. Actually all the equipment was shot in a flattering way. My #Telefunken M15 made it in a shot. My#neumannvms66 didn’t make it in. I was operating the VMS66 so no shots of my hands. The #scullylathe Model 501 looked magnificent. The Westrex IIID cutterhead was provided by @heba_kadry

The script originally called for showing two cutting sessions. The Neumann was supposed to be high tech and the Scully was supposed to illustrate low tech. When the director saw both he said something along the lines of ‘but the Scully looks better’. I can’t say I disagree.

We thought the film was great. I was originally just contracted to rent #saltmastering as space to film. It quickly became apparent that they wanted to get the technical details right. I started helping more by request of the production designer. At a certain point I decided to make it my job to see that the technical details were correct. It seemed like quality work was being done. The finished film reflects that. I was half expecting a cheesy and cliched biopic. It is definitely not that. It’s fairly dark and not prettied up. Worth seeing even if you don’t care about lathes.

I made it in! I was on screen a good 2-3 seconds. #shakerdesk made it in and was shot beautifully. Actually all the equipment was shot in a flattering way. My #Telefunken M15 made it in a shot. My#neumannvms66 didn’t make it in. I was operating the VMS66 so no shots of my hands. The #scullylathe Model 501 looked magnificent. The Westrex IIID cutterhead was provided by @heba_kadry

The script originally called for showing two cutting sessions. The Neumann was supposed to be high tech and the Scully was supposed to illustrate low tech. When the director saw both he said something along the lines of ‘but the Scully looks better’. I can’t say I disagree.

We thought the film was great. I was originally just contracted to rent #saltmastering as space to film. It quickly became apparent that they wanted to get the technical details right. I started helping more by request of the production designer. At a certain point I decided to make it my job to see that the technical details were correct. It seemed like quality work was being done. The finished film reflects that. I was half expecting a cheesy and cliched biopic. It is definitely not that. It’s fairly dark and not prettied up. Worth seeing even if you don’t care about lathes.

I made it in! I was on screen a good 2-3 seconds. #shakerdesk made it in and was shot beautifully. Actually all the equipment was shot in a flattering way. My #Telefunken M15 made it in a shot. My#neumannvms66 didn’t make it in. I was operating the VMS66 so no shots of my hands. The #scullylathe Model 501 looked magnificent. The Westrex IIID cutterhead was provided by @heba_kadry

The script originally called for showing two cutting sessions. The Neumann was supposed to be high tech and the Scully was supposed to illustrate low tech. When the director saw both he said something along the lines of ‘but the Scully looks better’. I can’t say I disagree.

We thought the film was great. I was originally just contracted to rent #saltmastering as space to film. It quickly became apparent that they wanted to get the technical details right. I started helping more by request of the production designer. At a certain point I decided to make it my job to see that the technical details were correct. It seemed like quality work was being done. The finished film reflects that. I was half expecting a cheesy and cliched biopic. It is definitely not that. It’s fairly dark and not prettied up. Worth seeing even if you don’t care about lathes.

I made it in! I was on screen a good 2-3 seconds. #shakerdesk made it in and was shot beautifully. Actually all the equipment was shot in a flattering way. My #Telefunken M15 made it in a shot. My#neumannvms66 didn’t make it in. I was operating the VMS66 so no shots of my hands. The #scullylathe Model 501 looked magnificent. The Westrex IIID cutterhead was provided by @heba_kadry

The script originally called for showing two cutting sessions. The Neumann was supposed to be high tech and the Scully was supposed to illustrate low tech. When the director saw both he said something along the lines of ‘but the Scully looks better’. I can’t say I disagree.

We thought the film was great. I was originally just contracted to rent #saltmastering as space to film. It quickly became apparent that they wanted to get the technical details right. I started helping more by request of the production designer. At a certain point I decided to make it my job to see that the technical details were correct. It seemed like quality work was being done. The finished film reflects that. I was half expecting a cheesy and cliched biopic. It is definitely not that. It’s fairly dark and not prettied up. Worth seeing even if you don’t care about lathes.

Last year in December, Hollywood invaded #saltmastering. The new Springsteen biopic Deliver Me From Nowhere (code named Husker) is being released on Friday October 24th. Part of it was filmed in the Salt Mastering studio as well as the electronics and metal working shop. In addition the production rented another space in the building. I ended up being hired as the ‘lathe wrangler’. Working under the Production Designer and Art Director.

The album “Nebraska” was mastered twice. Once at LA Lacquer and again at Atlantic Records Studio. The Salt Mastering studio was half of each studio. The #neumannvms66 was used as the LA Lacquer lathe. #shakerdesk was used as the Atlantic Records mastering console. They brought fabric wall panels in two colors which were swapped out depending on the studio. They also recreated the back corner of the studio on the other set.

The #scullylathe was set up on the other set with the Neumann SP75 console. The SP75 was the LA Lacquer console. The Scully was Atlantic Records mastering.

The second photo is of Director Scott Cooper and me looking at the actor operating the Scully to make sure it looks realistic.

I’m also supposed to have a small on screen part. I hope it made it in. I think the scene is integral to the plot so I’m hopeful it wasn’t cut.

I’ve never been involved in something like this. It was a fun change of pace. I’m not giving up the day job first.

Last year in December, Hollywood invaded #saltmastering. The new Springsteen biopic Deliver Me From Nowhere (code named Husker) is being released on Friday October 24th. Part of it was filmed in the Salt Mastering studio as well as the electronics and metal working shop. In addition the production rented another space in the building. I ended up being hired as the ‘lathe wrangler’. Working under the Production Designer and Art Director.

The album “Nebraska” was mastered twice. Once at LA Lacquer and again at Atlantic Records Studio. The Salt Mastering studio was half of each studio. The #neumannvms66 was used as the LA Lacquer lathe. #shakerdesk was used as the Atlantic Records mastering console. They brought fabric wall panels in two colors which were swapped out depending on the studio. They also recreated the back corner of the studio on the other set.

The #scullylathe was set up on the other set with the Neumann SP75 console. The SP75 was the LA Lacquer console. The Scully was Atlantic Records mastering.

The second photo is of Director Scott Cooper and me looking at the actor operating the Scully to make sure it looks realistic.

I’m also supposed to have a small on screen part. I hope it made it in. I think the scene is integral to the plot so I’m hopeful it wasn’t cut.

I’ve never been involved in something like this. It was a fun change of pace. I’m not giving up the day job first.

Last year in December, Hollywood invaded #saltmastering. The new Springsteen biopic Deliver Me From Nowhere (code named Husker) is being released on Friday October 24th. Part of it was filmed in the Salt Mastering studio as well as the electronics and metal working shop. In addition the production rented another space in the building. I ended up being hired as the ‘lathe wrangler’. Working under the Production Designer and Art Director.

The album “Nebraska” was mastered twice. Once at LA Lacquer and again at Atlantic Records Studio. The Salt Mastering studio was half of each studio. The #neumannvms66 was used as the LA Lacquer lathe. #shakerdesk was used as the Atlantic Records mastering console. They brought fabric wall panels in two colors which were swapped out depending on the studio. They also recreated the back corner of the studio on the other set.

The #scullylathe was set up on the other set with the Neumann SP75 console. The SP75 was the LA Lacquer console. The Scully was Atlantic Records mastering.

The second photo is of Director Scott Cooper and me looking at the actor operating the Scully to make sure it looks realistic.

I’m also supposed to have a small on screen part. I hope it made it in. I think the scene is integral to the plot so I’m hopeful it wasn’t cut.

I’ve never been involved in something like this. It was a fun change of pace. I’m not giving up the day job first.

Last year in December, Hollywood invaded #saltmastering. The new Springsteen biopic Deliver Me From Nowhere (code named Husker) is being released on Friday October 24th. Part of it was filmed in the Salt Mastering studio as well as the electronics and metal working shop. In addition the production rented another space in the building. I ended up being hired as the ‘lathe wrangler’. Working under the Production Designer and Art Director.

The album “Nebraska” was mastered twice. Once at LA Lacquer and again at Atlantic Records Studio. The Salt Mastering studio was half of each studio. The #neumannvms66 was used as the LA Lacquer lathe. #shakerdesk was used as the Atlantic Records mastering console. They brought fabric wall panels in two colors which were swapped out depending on the studio. They also recreated the back corner of the studio on the other set.

The #scullylathe was set up on the other set with the Neumann SP75 console. The SP75 was the LA Lacquer console. The Scully was Atlantic Records mastering.

The second photo is of Director Scott Cooper and me looking at the actor operating the Scully to make sure it looks realistic.

I’m also supposed to have a small on screen part. I hope it made it in. I think the scene is integral to the plot so I’m hopeful it wasn’t cut.

I’ve never been involved in something like this. It was a fun change of pace. I’m not giving up the day job first.

Last year in December, Hollywood invaded #saltmastering. The new Springsteen biopic Deliver Me From Nowhere (code named Husker) is being released on Friday October 24th. Part of it was filmed in the Salt Mastering studio as well as the electronics and metal working shop. In addition the production rented another space in the building. I ended up being hired as the ‘lathe wrangler’. Working under the Production Designer and Art Director.

The album “Nebraska” was mastered twice. Once at LA Lacquer and again at Atlantic Records Studio. The Salt Mastering studio was half of each studio. The #neumannvms66 was used as the LA Lacquer lathe. #shakerdesk was used as the Atlantic Records mastering console. They brought fabric wall panels in two colors which were swapped out depending on the studio. They also recreated the back corner of the studio on the other set.

The #scullylathe was set up on the other set with the Neumann SP75 console. The SP75 was the LA Lacquer console. The Scully was Atlantic Records mastering.

The second photo is of Director Scott Cooper and me looking at the actor operating the Scully to make sure it looks realistic.

I’m also supposed to have a small on screen part. I hope it made it in. I think the scene is integral to the plot so I’m hopeful it wasn’t cut.

I’ve never been involved in something like this. It was a fun change of pace. I’m not giving up the day job first.

Last year in December, Hollywood invaded #saltmastering. The new Springsteen biopic Deliver Me From Nowhere (code named Husker) is being released on Friday October 24th. Part of it was filmed in the Salt Mastering studio as well as the electronics and metal working shop. In addition the production rented another space in the building. I ended up being hired as the ‘lathe wrangler’. Working under the Production Designer and Art Director.

The album “Nebraska” was mastered twice. Once at LA Lacquer and again at Atlantic Records Studio. The Salt Mastering studio was half of each studio. The #neumannvms66 was used as the LA Lacquer lathe. #shakerdesk was used as the Atlantic Records mastering console. They brought fabric wall panels in two colors which were swapped out depending on the studio. They also recreated the back corner of the studio on the other set.

The #scullylathe was set up on the other set with the Neumann SP75 console. The SP75 was the LA Lacquer console. The Scully was Atlantic Records mastering.

The second photo is of Director Scott Cooper and me looking at the actor operating the Scully to make sure it looks realistic.

I’m also supposed to have a small on screen part. I hope it made it in. I think the scene is integral to the plot so I’m hopeful it wasn’t cut.

I’ve never been involved in something like this. It was a fun change of pace. I’m not giving up the day job first.

Monday afternoon I visited @saltmastering where Paul Gold cut the lacquers for my new vinyl double LP “I-95” directly from the 1/2 inch analog master tapes. The record was tracked and mixed to analog tape by Tim Hatfield (@cowboytechnical) at @dreamlandrecordingstudio .

Joining me on the record were some excellent musicians: @jerrymarottadrums , @ruthyuke , @brianmitchellmusic and Rob Stein.

The next step is record pressing at @gottagrooverecs

More news to come...

#vinylrecord #analogrecording #analogrecord #analogrecords #vinyllove #vinylcommunity #analogmastering

Someone heard through the grapevine I had made these vari-speed boxes for my #studera80 tape machines and asked to buy one. I’m happy to oblige. This is what I consider an improved version the stock Studer design. The original had a single multi turn potentiometer with a multi turn dial for recall.

This version has both the narrow range +/- 4% and wide range +/- 7 semitones. The unique feature is incorporating a frequency counter to directly read the oscillator frequency that controls the speed of the machine. This way you have precise recall of settings in addition to a quick check that the deck speed is correct.

#saltmastering, #studertapemachine #analogmastering #analogtapemachine #analogtape

Someone heard through the grapevine I had made these vari-speed boxes for my #studera80 tape machines and asked to buy one. I’m happy to oblige. This is what I consider an improved version the stock Studer design. The original had a single multi turn potentiometer with a multi turn dial for recall.

This version has both the narrow range +/- 4% and wide range +/- 7 semitones. The unique feature is incorporating a frequency counter to directly read the oscillator frequency that controls the speed of the machine. This way you have precise recall of settings in addition to a quick check that the deck speed is correct.

#saltmastering, #studertapemachine #analogmastering #analogtapemachine #analogtape